1,797,040 research outputs found
Wits Architecture Student Works 1922-1980. Weaver, R N. Watercolour painting of a Building. 1934. third year.
No full textWits Architecture Student Works 1922-1980. Weaver, R N. Watercolour painting of a Building. 1934. third year.Wits Architecture Student Works 1922-1980. Weaver, R N. Watercolour painting of a Building. 1934. third year
I Am Proud to be the Mother of a Soldier Boy
No full text1917The music and lyrics for "I Am Proud to be the Mother of a Soldier Boy" were written by R. N. Moffat. It was arranged by Dudley Huntington McCosh and published by R. N. Moffat in Seattle. The piece was performed at least once locally, at Fort Lawton by the Fourteenth Infantry Band.Caption information source: The Seattle Sunday Times, April 30, 1916, p. 25.1 score (4 p." + 1 part ; 10.75 x 13.75 in
Normalised solutions for p-Laplacian equations with Lp-supercritical growth
Full text linkFor N >= 3 and 2 < p < N, we find normalised solutions to the equation -Delta pu + (1 +V(x))|u|(p-2)u +lambda u =|u|(q-2)u in R-N |u| 2 = rho in the mass supercritical and Sobolev sub critical case, that is q E (pN+2/N , Np/ N-p ), at least if rho > 0 is small enough. The function V is an element of L-N/p(R-N), which plays the role of potential, is assumed to be non-positive and vanishing at infinity. Moreover, we will prove the compactness of the embedding of the space of radial functions W (1,p) (rad)(R-N ) subset of L-q(R-N) for p is an element of (1, N) and q E (pN+2/N , Np/N-p)
Horses of the 3rd Light Horse Brigade destroyed after armistice, Tripoli, Syria, 1918 [picture] /
No full textTitle devised by cataloguer based on information from compactus card.; Part of the: Collection of photographs of World War 1914-1918.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4982166; Lent for copying by Patience Wardle
Letter from R. N. McDaniel to David Selby
No full textLetter from R. N. McDaniel to David Selby, thanking him for money order
Letter from R. N. McDaniel to Leonard Tabor, Jr.
No full textLetter from R. N. McDaniel to Leonard Tabor, Jr., thanking him for paying NFA dues
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Invoice from the R. N. Hartman Collection for Bilanga 920
No full textInvoice from the R. N. Hartman Collection for the sale of Bilanga 920 to Arthur J. Ehlmann (Director of the Oscar Monnig Meteorite Collection at Texas Christian University
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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